A.W. Eaton's Article: "Robust Immoralism"
Eaton's article, "Robust Immoralism," discusses the importance of audience relations to rough heroes. The author claims that people were innately drawn to flawed characters with immoral tendencies. Some of these characters were portrayed as self-centered, homophobic, racist, bigoted, extortionist, liars, murderers, or womanizers (Eaton 281).
The Existence of Immoralism
Many audiences sympathized with and even admired rough heroes. Eaton was convinced that the latter perspectives proved the existence of immoralism. Furthermore, the writer claimed that intrinsic ethical flaws were reflective of aesthetic merits. In this paper, I will argue that abhorrent characters repulsed rather than enthused viewers.
Intrinsic Morality
All humans were deeply affected by an internal sense of right and wrong. The conscience usually condemned wrong actions while excusing righteous acts. Even people that were irreligious, atheist, or agnostic manifested intrinsic elements of decency. For example, humans were naturally inclined towards caring for their children. Parents that mistreated or abandoned their children were viewed as irresponsible. Child protection services were established to respond to potential cases of abuse. The existence of intrinsic morality contradicts Eaton’s views regarding the thrill of rough heroes. Hence, it was fallacious to claim that people were naturally drawn to obnoxious characters.
Ethical Values in Society
Furthermore, human societies were guided by ethical values and principles. In this regard, law enforcement agencies were created to ensure peace and order. Individuals that blatantly violated established laws were liable for arrest and prosecution. Members of the community were sensitized to watch out for criminal behaviors in their neighborhoods. Victims of criminal acts were encouraged to report such matters rather than take the law into their hands. Hence, human societies were quick to condemn deviant attitudes. Convicted criminals were usually sent to correctional facilities for the sake of rehabilitation. If people were naturally inclined towards rough heroes, police officers, courts, and prisons would not exist.
Fiction vs. Reality
In addition, worldwide audiences were aware of the fictional nature of characters. The plotlines and stories of movies were figments of human creativity. It was practically impossible to portray the thoughts and actions of a single human within a three-hour production. It was even more unrealistic to capture the interactions among a group of humans. Movie producers and directors emphasized certain aspects more than others. Audiences were fully aware of the biased nature of film makers. Similar characterizations were made towards works of art. Audiences at galleries and operas recognized the artist’s prerogative to enforce particular themes at the expense of others. In the same vein, young children would often participate in pretend play as a form of cognitive development. Such children would quickly revert to reality at the conclusion of their games. These examples show that morally upright people would never endorse the unethical acts portrayed in movies. Consequently, there was a clear distinction between fantasy and reality.
Battle between Virtue and Vice
The majority of cinema productions portrayed the battle between virtue and vice. In this respect, movies pitted righteous characters against those who were morally corrupt. Such characterization was intended to influence the feelings of viewers. Audiences were thrilled whenever rough heroes encountered insurmountable challenges. On the other hand, viewers were intrinsically supportive and sympathetic towards the plight of righteous characters. Movies and theatre productions were quite successful in capturing the audience’s affections. Viewers imagined themselves in the situations portrayed in films. Consequently, it was erroneous to claim that people were naturally drawn towards rough heroes.
Societal Shift towards Tolerance and Acceptance
The gradual changes in societal attitudes reflected a move towards tolerance and acceptance. For instance, homosexuality was severely condemned during the 20th-century. Many communities were openly opposed towards gays and lesbians. Homosexuals usually identified themselves as heterosexuals to avoid stigmatization. However, gay rights have been progressively instituted in many areas. Homosexuals are now emboldened to walk publicly and even have marital ceremonies. The society’s shift towards tolerance is also reflected in the matter of racism. In previous decades, blacks, Hispanics, and other minority groups were subjected to severe discrimination. Racial segregation was universally identified as a major obstacle towards human cooperation. Nevertheless, numerous laws have been enacted to guarantee civil rights and personal liberties. Persons from all racial groups now enjoy equitable access to social amenities. Granted, there are some vestiges of racism and intolerance towards gays and lesbians. For the most part, people have learned to accept individuals with alternative lifestyles. Such tolerance and indifference make it difficult to imagine that people would admire the moral defects of rough heroes.
Fictional Nature of Artistic Productions
Artistic productions such as documentaries, musicals, feature films, and biographical works contained few fictional elements. It is fallacious to judge human behavior based on the audience’s reactions to fictional productions. Since the latter movies comprise a small sample size, it was erroneous to make generalized assumptions. Different genres of films offered unique forms of entertainment. Some movies were also based on literary pieces of art. Documentaries and biographical films allowed audiences to appreciate certain aspects of the society. It was fascinating to contemplate the real-life experiences of famous personalities. Normal audiences were geared towards obtaining life lessons rather than showing sympathy. If characters made mistakes, viewers would evaluate how the latter may have acted under similar circumstances. Consequently, it was inaccurate to claim that people were drawn towards rough heroes.
Admiration for Heroic Qualities
Besides, heroic qualities such as intelligence, physical prowess, courage, and conviction were greatly admired. Characters that manifested these virtues intrigued worldwide audiences. Minor lapses of judgment were excused since heroes had pure motives. Commitment towards righteous endeavors was highly valuable in the eyes of the audience. Hence, it would not be alarming if righteous characters uttered occasional swear words. All humans would periodically think, speak, or act improperly. Nevertheless, people tried to improve their attitudes and behaviors to ensure better relationships with others. Conversely, rough heroes were predominantly evil with few noble qualities. Rough heroes were also unable or unwilling to change their attitudes. Many audiences could never sympathize with murderous, perverted, pedophilic, and sadistic tendencies. It was erroneous to claim that people were drawn to rough heroes since viewers could not relate to intrinsic immorality.
Opposition to Rough Heroes
Indeed, worldwide audiences were more likely to oppose rough heroes rather than embrace immoral tendencies. All humans were naturally endowed with a strong sense of right and wrong. The human conscience was quite powerful to the extent of superseding agnostic or atheistic views. Besides, human societies were guided by ethical principles in pursuing peace and order. Law enforcement agencies, courts of law, and correctional facilities were emblematic of the human quest for justice. Audiences were fully aware that artistic productions could not capture the essence of real life. Fictional representations were created purely for entertainment. Moreover, the society’s gradual adoption of tolerance made it hard for people to sympathize with rough heroes. Fictional productions also comprised a small sample size of artistic productions. Audiences were drawn to heroes since the latter were characterized by virtuous qualities. Consequently, it was fallacious to claim that viewers were naturally drawn to abhorrent characters.
Work Cited
Eaton, Anne W. "Robust immoralism." The Journal of Aesthetics and Art Criticism 70.3 (2012): 281-292.
